George Perle’s
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Twelve–Tone Tonality:
Some Developments
for CAC using PWGL
ABSTRACT
This paper presents a description and some
developments on Perle’s theory and compositional
system known as Twelve-Tone Tonality, a system that,
because of its characteristics and fundamentals, is
currently associated with Schoenberg dodecaphonic
system. Some research has been made in the last few
decades in order to develop his model in a Computer
Assisted Composition (CAC) environment. After
some efforts in order to analyse these prototypes,
we realize that in general they were discontinued or
outdated.
A three-scope proposal is so outlined: Firstly, to
simplify the grasp of a system that presents an easily
understandable starting premise but afterwards
enters a world of unending lists and arrays of
letters and numbers; Secondly, to present the
implementation process already started using PWGL
[1] (see Laurson, 1996; Laurson, 2003; Laurson,
2009). Finally, the model is applied in a short
original compositional work, and it is presented and
analysed emphasizing the standpoints properties of
the system. Some further considerations were made
regarding the continuity of this project where the
construction of a dedicated PWGL library of Perle’s
model reveals a pre-compositional necessary tool.
PWGL software was selected due to its specific
fitting features: it is based on Common Lisp —
Telmo Marques
Research Center for Science and
Technology of the Arts (CITAR).
Portuguese Catholic University |
Porto | Portugal
-----
telmomars@gmail.com
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Paulo Ferreira-Lopes
Research Center for Science and
Technology of the Arts (CITAR).
Portuguese Catholic University |
Porto | Portugal
-----
pflopes@porto.ucp.pt
-----
perfectly powerful and suitable to process lists of
integers — and it is specialized in CAC.
Keywords: George Perle; Twelve-Tone Tonality
(TTT); Twelve-Tone Music; Structural Symmetry;
PWGL; Computer Aided Composition (CAC);
Interval Cycles; Composition Techniques and
Systems; Music Theory
1 | INTRODUCTION
George Perle’s Twelve-Tone Tonality (TTT) seems to
be an almost forgotten issue in compositional and
analytical common practice. It is difficult today to
understand the reasons why his TTT system is not
taught worldwide and consistently in music schools
and conservatories. As Rosenhaus referred, “only a
few musicians know the system and are in a position to
teach others its use” (Rosenhaus, 1995, p. 1). For many,
this situation happens ‘simply because he has chosen
to join the terms “twelve-tone” and ‘tonality’ (Carrabré
1993, p. 1). Still, his system has a supportive group of
endeavours. The final results in his own compositional
work confirm ‘that the consistency of musical structure
provided by twelve-tone tonality has allowed Perle to
create music of great sophistication and emotional
depth’ (Carrabré, 1993, pp. 232-3). However, some
musicians confessed that the system is not easy to
put into practice [2]. Even George Perle, about his
book, referred that ‘some of my friendliest reviewers
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admitted that they found Twelve-Tone Tonality “very
tough reading.” It is not, however, a book for “reading”
in any ordinary sense, any more than a traditional
harmony textbook would be’ (Perle, 1996, p. xiii).
It is the aim of this research in a broad sense to start
developing a computer library model for PWGL
dedicated to Perle’s Twelve-Tone Tonality (TTT) with
direct application in Computer Aided Composition
(CAC). Abridging some arithmetic manipulations
this library should be helpful to make his system
manageable and ready to be used as a practical
pre-compositional tool.
2 | SYMMETRY IN MUSIC
The approach to George Perle’s TTT inevitably
requires an analysis/discussion of the concept
of symmetry and its applications. His theory is
grounded in symmetrical interval cycles in which a
special type of tone row is employed.
From the Greek συμμετρειν, (meaning “measured
together”) symmetry is a universal concept used
in a wide scope of diverse situations, from material
objects (like flowers or stones) to abstract structures
(like mathematics and music) [3]. Art, in its many
expressions, has had a strong mimetic preference
imitating the Nature where symmetry appears in
several forms: Bilateral Symmetry (which is observed
in relation to one plane or one line) and Radial
Symmetry (which is observed over several planes
which pass through a central axis or multiple lines
that intersect at the same point) (Marques, 1998).
Symmetry could be found in the formal structure
of a piece of music. It is a common practice for
musicians (and useful) to use Letters to define the
structural organization in sections of a musical work.
Sometimes symmetric forms can be found (e.g.
ABA, ABCBA). This kind of palindromic symmetry
is extensive from Bach to Jazz.
Symmetry is something that should also be
considered regarding scales and chord formation.
Although functional tonality is build over non-
symmetric combinations of notes — like the diatonic
scale and the major triad – examples as the chromatic
scale, the augmented chord, the diminished chord, or
the diminished seven chord, those can all be found
in functional tonal works.
The Portuguese composer Fernando Corrêa de Oliveira
developed a musical system named ‘Symmetric
Harmony’ and later a ‘Symmetric Counterpoint’. In
‘Symmetric Harmony’ chords are formed starting
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from a central axis and adjusting pitches in opposite
direction with the same interval relation with that
axis. Applying the same technical principle to melody
one gets ‘Symmetric Counterpoint’ (Oliveira, 1990).
The diatonic system is non-symmetric by nature.
The diatonic scale is characterized by its specific
semitones. The position of these semitones in a scale
is crucial to determine the Mode. With the exception
of the Dorian mode, we won’t find symmetrically
relevant scalar structures in the Tonal/Modal
universe. The inversionally equivalence of the tonal
Major scale and the Phrygian scale mode incurs
in a semantic error regarding the relations of their
grades in function: the Tonic/Final (finalis), and the
Dominant/Tenor (repercussa) does not fit in the
symmetric inversion (Perle, 1996, p. 5).
However, the concept of symmetry in music should
not be limited to scales and letters. Emmanuel
Amiot wrote an article about the notion of
symmetry in music analysis where he presents
a sort of examples of ‘symétries de l’ensemble
de notes considéré’ (representing only a small
partition within the ‘théorie des groupes’), starting
with Wagner’s motive of desire, continuing with
Mozart’s Adagio from the D minor piano concerto,
Bach’s subject of Wohltemperiertes Klavier I — G
minor fugue, Chopin’s Ballade op.23, and Debussy’s
Puerta del Vino (Amiot, 1991).
The gradual dissolution of Functional Tonality at
the end of the nineteenth century brought a new
reality of symmetrical properties flourish. Extended
Chromaticism gave rise to a semitone space of
absolute symmetry with no relations in between
the elements. It would be easily conceivable that
symmetry became a necessity. Joseph Hauer’s
Tropes and Arnold Schoenberg’s dodecaphonic
system uses a structural pitch space based on
the (absolutely symmetrical) twelve-tone scale.
Symmetrical processes on inversion, retrogrades
and retrograde-inversions (observable in the
matrix), are systematically used in compositional
processes. Those symmetrical functions were
extended by Anton Webern´s invariance under
transformation [4], and by Alban Berg’s cyclic
interval interpolation — as we will see in the next
section. Additionally, Olivier Messiaen deserves
a special place in this symmetric musical world:
on the one hand, the division of the octave in
symmetrical segments generating his modes
of limited transposition; on the other hand, his
interest in rhythms from Hindu and ancient Greek
sources brought to his music an extensible use of
non-retrogradable rhythms (palindromes).
3 | GEORGE PERLE TTT-TWELVE-TONE TONALITY
George Perle was an American composer, professor
emeritus at the Aaron Copland School of Music and a
recipient of the Pulitzer Prize for Music, thanks to his
Twelve-tone system of composition based on cyclic
intervals and symmetrical inversions. This structural
method for composition started with the analytical
work he has done with Alban Berg’s compositions.
This system was later crystallized in what he called
‘Twelve-Tone Tonality’ (Perle, 1996). Perle considers
that the principle of “symmetry” present in his
model is the key element that establishes a direct
relationship with the Tonal System:
‘I can sum up my present understanding of the
meaning of symmetry for twelve-tone music in a few
words. I believe that it can serve as the foundational
premise of a coherent and natural twelve-tone
harmonic language, just as the triad does for the
harmonic language of diatonic tonality; and just as
the universality of the triad presents diatonic tonal
music with a normative principle that defines the
meaning of dissonance — a controlled departure
from the triad, which remains the referential norm
even when it is momentarily absent — so can
analogous departures from symmetrical relations
provide a basis for prolongational procedures in
twelve-tone tonal music’ (Perle, 1996).
applications either, they do not exist or they were
simply discontinued.
George Perle’s theory had its origin due to a
misinterpretation on Schoenberg’s system: In the
late thirties, he accessed to a reduction of the score
of Alban Berg’s Wozzek where he distilled everything
he could. He realized that starting with a set one
could prepare a matrix. Then he assumed that any
note in this matrix could be selected (note axis)
and four neighbour notes (two horizontal and two
vertical) established as members of the harmony.
Soon he realized that the result was ambiguous, too
inconstant and without any basis for systematization,
because the amount of existing intervals in a set is
multiplied by the number of harmonic possibilities in
its realization. But Perle realized that certain series
disclose a consistent pattern: Those series based on
constant cycles of symmetrical intervals.
‘My first attempt at what I took to be twelve-tone
composition was based on the following P and I
row forms:
b c d f a a g f# d# e b c# (b
b b c f c# d d# e g f# c a (b

Schoenberg’s system is widely used in Universities From these I derived a collection of adjacency
and Music academies, both in the teaching process relations by pairing three-note segments that shared
and in the compositional process. Although the TTT the same pivotal pitch class, as in the following
was developed almost at the same time, it is a fact array, in which the horizontally stated segments are
that only a few are familiar with it — or even use it. This taken from P and the intersecting vertically stated
problem could be caused by the prime characteristic segments from I:
of this system: set lists capable of an almost endless
possibility of combinations. f# f c# d d# a
b c d b c# b c d f f# d# e d# e b d f a
Authors like Carrabré (1993), Foley (1999), and
a d d# e g c#
Rosenhaus (1995), proposed new approaches and
extensions to Perle’s theory in order to make it
more accessible and comprehensible. In fact the g e b c b a
subject is far from being exhausted. A short list g f# d# a g f# a a g f a a e b c# c# b c
of researchers developed software related with
c f# f b a b
Perle’s theory some years ago: James Carr (1995)
developed an application that he called ‘12-tt 2.0’.
This application was capable of generating an In effect, the distinction between retrograde-related
‘encyclopedia’ with lists of vectors and matrices; row forms was eliminated and any note was free
Gretchen Foley developed an application named to move to either of its neighbours in either of two
‘T3RevEng’ directed to Aided Analysis; Dave inversionally complementary forms’ (Perle, 1996, p. xi).
Headlam created a set of applications to matrix
identification (Lansky, 2001); and Christopher 4 | PWGL IMPLEMENTATION
Winders design an application that can slide a
cyclic set over another in order to produce every The PWGL application (Patch Work Open GL) is
possible vertical alignments (Foley, 2006). Those an object-oriented platform that uses Common

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FIGURE 1 | Front Panel of the Patch.

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Lisp operating as kernel on its background. Mikael
Laurson’s research group in the Sibelius academy,
Helsinki, is constantly developing PWGL. The specific
features of this software include a powerful and
suitable list processing, adequate to manage series
of cycles, symmetries, and sets.
4.1 THE INPUT SECTION
The front window of the PWGL patch presents a
pannel where the fundamentals of Perle’s theory
are visible. It helps the understanding the basics
for generating the cycles. The starting point is to
select Perle’s terminology in the popup ‘menu-
box’ or a three-note set that defines the cyclic
intervallic constant relation in the ‘Chord Editor’.
The ‘menu-box’ contents the complete collection
of non-equivalent dyadic cyclic sets as determine
by Perle (Perle, 1996, p. 253) [5].
FIGURE 2 | Menu-box selection.
Evaluating all the boxes on the right of the ‘Cycle Set
Generation’ will produce all the relative Inversionally
Complementary Cycles.
As we can verify in Figure 1, the sum of the first
two-notes of the series returns Sum 0 (based on
the common-practice use of pitch-class values in
Mod12 where C=0, C#=1, … B=11). The sum of all the
second and third notes returns Sum 5. As explained
by Perle ‘the pitch class relations between any
pair of such ordered set is reducible to the pitch-
class relations between two representations of the
semitonal scale’ (Perle, 1996, p. 7). Those sums are
fixed in the synoptic p0p5.
Starting with a C-C dyad on the first serie, the cycles
resultant continue chromatically with a B-C# dyad,
and end with a F#-F#. Reaching the middle of the
octave, the next resulting set would not be of non-
equivalence since the equivalence exists between
G-F and F-G starting series.
4.2 VERTICALIZATION
The next step is the verticalization of the cycle
constructed with each note of the serie as the axis-
note and its neighbours as the constant interval
cycle. This constant intervallic structure is the core
of his theory. As Perle explains:
‘Every tone appears always in the neighbourhood
of two other tones in an unchanging combination
which produces an intimate relationship most
similar to the relationship of a third and a fifth to its
root. […] only a very special type of set will generate
consistent and coherent adjacency relations and thus
function as a “logical and controllable” referential
structure for twelve-tone harmony. The principle
of verticalization provides no basis for a total and
systematic control of the harmonic dimension when
it is applied to the general Schoenbergian set, but
it will do exactly this when applied to any type of
cyclic set’ (Perle, 1996, p. 27).
FIGURE 3 | Axis Verticalization.
4.3 INVERSIONALLY RELATED SET FORMS
The next step is the alignment of two cognate sets.
Cognate sets are ‘inversionally related set forms that
share a single series of dyads. Each of these may
also be interpreted in terms of another alignment
of the interval-7 cycles’ (Perle, 1996, p. 22). Perle
referred to interval-7 only because it was the
example used. Any interval cycle could be divided in
the middle were it always starts inverting the cycle.
For example, our interval-5 cycle is an inversion of
interval-7 as could be observed in the Figure 4. Any
inversion of an interval cycle results in a cognate
relation set. Perle exemplifies:
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FIGURE 4 | Cognate Set.
‘In the following series of set forms each member of
the complex is preceded and followed by a cognate
set form:
p0p7 i7i2 p2p9 i9i4 p4p11 i11i6 p6p1 i1i8
p8p3 i3i10 p10p5 i5i0 (p0p7)’ (Perle 1996, 24).
In sum, any set form could be paired with any
inversionally related set form in order to produce the
twelve transpositions of a symmetrical tetrachord as
could be observed in Figure 5.
4.4 AXIS-DYAD ALIGNMENT
Figure 5 presents two inversionally related sets, p0p5
and i9i2, and the resulting axis alignment with the
dyads forming tetrachords over a bass (axis). This
would be the next step on this research-in-progress in
way to allow the realization of any possibilities available
regarding the interest of the music creator. It would
simplify the time-consuming pre-compositional stage
circumventing the tribulation of concatenation under
lists of numbers (or notes), liberating the composer
to decide and choose which material serves his/her
interest better. And that is the real significance of
Computer Aided Composition meaning.
5 | APPLICATION IN PRACTICE
Figure 6 presents the opening of a song where
some properties of Perle’s system are applied. This
example remains focusing exclusively the harmonic
context and will not concern with note-duplication
and/or the ordering of the set represented in each
axis-dyad chord of the system. The construction
derives from the p0p5/i1i8 array during the eight
first bars before a changing of array in bar nine [6]:
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FIGURE 5 | Axis-Dyad Chord Alignment.
p0p5: 0 0 5 7 t 2 3 9 8 4 1 e 6 6 e 1 4 8 9 3 2 t 7 5 0 0
i1i8: 0 1 7 6 2 e 9 4 4 9 e 2 6 7 1 0 8 5 3 t t 3 5 8 0 1
The first bar, letter a, combines the three-note
segments, t 7 5 / 1 7 6. The same axis-dyad chord
gives us bars four and five. The second and third
bars, letter b, represents a different alignment of the
same array combining the three-note segments, 8 9
3 / e 9 4. The same happens in bars seven and eight.
In bar nine a new alignment occurs with segments e 6
6 / 2 6 7. As can be disclosed, the sliding alignment is
a priority need in the pre-compositional TTT system.
That kind of procedure is a constant need in order to
explore the array’s qualities. The PWGL library must
include such a feature while revealing more easily the
3+3 segments in visual music notation.
Bar nine presents a different interval set combination,
in this case the interval-6 and interval-1, but this
matter is not in the scope of this research (see Perle
1996, 67-70). The modulatory properties of the tonal
TTT system will be discussed on the next occasion.
6 | CONCLUSIONS
Perle’s theory still presents a sparkling freshness
nowadays due to his harmonic solutions concerning
Twelve-tone music. The implementation of his
system in PWGL reveals fruitful assisting the pre-
composition stage. The time-consuming difference
between handwriting approach and PWGL process
will surely increase with subsequent improvements
on this research subject. A few musical works were
being aided with these patches, and analytical
conclusions should be present in future articles.
Still, an expansion on Perle’s theoretical system
towards a new pre-compositional model, suggests
a comparative analysis with other relevant 12-tone
FIGURE 6 | Practical Application.
structural organization theories. The articulation
between Perle’s model and the PWGL implementation
is a clear objective, and the next step is to make it
public. A PWGL specific library dedicated to this
matter will be a subsequent stage of development
and future research.
ACKNOWLEDGEMENTS
We would like to thank to Dr. Patrick Carrabré for
his supportive approach, especially in the very
beginning of the investigation.
REFERENCES
Amiot, Emmanuel (1991). “Pour en finir avec le Désir:
La Notion de Symétrie en Analyse Musicale”. Analyse
Musicale. (22), pp.87-92.
Andreatta, Moreno & Agon, Carlos (2003).
“Implementing algebraic methods in OpenMusic” In
Proceedings of 2003 International Computer Music
Conference. Singapore, ICMA.
Carr, James (1995). “George Perle and the Computer:
An Uneasy Alliance”. International Journal of
Musicology. 4, pp.207-15.
Carrabré, Patrick T. (1993). “Twelve-Tone Tonality and
the Music of George Perle”. Vol. Ph.D. dissertation:
City University of New York.
Cope, David (2008). Hidden Structure: Music Analysis
Using Computers. Madison WI: A-R Editions.
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Foley, Gretchen (1999). “Pitch and Interval Structures
in George Perle’s Theory of Twelve-Tone Tonality”.
Vol. Ph.D. dissertation: University of Western Ontario.
Foley, Gretchen & Cusack, Charles (2006).
“Computer-Assisted Analysis of Music in George
Perle’s System of Twelve-Tone Tonality”. Computer
Music Journal. 30, (3), pp.53-66.
Forte, Allen (1973). The Structure of Atonal Music.
New Haven, Connecticut: Yale University Press.
Lansky, Paul, Perle, George & Headlam, Dave
(2001). “Twelve-note Composition”. The New Grove
Dictionary of Music and Musicians, second edition,
edited by Stanley Sadie and John Tyrrell. London:
Macmillan Publishers.
Laurson, Mikael (1996). ‘Patchwork: A visual
Programming Language and Some Musical
Applications’. Vol. Ph.D. dissertation, Helsinki: Sibelius
Academy.
Laurson, Mikael & Kuuskankare, Mika (2003). “Some
Box Design Issues in PWGL” In Proceedings of
2003 International Computer Music Conference.
Singapore, ICMA.
Laurson, Mikael & Kuuskankare, Mika (2005). “Micro
Textures with Macro-Notes” In Proceedings of
2005 International Computer Music Conference.
Barcelona, ICMA.
Laurson, Mikael, Kuuskankare, Mika & Norilo,
Vesa (2009). “An Overview of PWGL, a Visual
Programming Environment for Music”. Computer
Music Journal. 33, (1), pp.19-31.
Messiaen, Olivier (1944). Technique de mon langage
musical. Paris: Leduc.
Messiaen, Olivier (1994-2002). Traité de rythme, de
couleur, et d’ornithologie. Paris: Leduc.
Oliveira, Fernando Corrêa (1990). Simetria Sonora
(2nd Ed). Braga: Sólivros de Portugal.
Perle, George (1964). “An Approach to Simultaneity
in Twelwe-Tone Music”. Perspectives of New Music.
3, (1), pp.91-101.
Perle, George (1977a). Twelve-Tone Tonality. Berkeley:
University of California Press.
Perle, George (1977b). “Berg’s Master Array of Interval
Cycles”. The Musical Quarterly. 63, (1), pp.1-30.
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Perle, George (1990). The Listening Composer.
Berkeley: University of California Press.
Perle, George (1991). Serial Composition and Atonality:
An Introduction to the Music of Schoenberg, Berg,
and Webern (6th ed. revised). Berkeley: University of
California Press.
Perle, George (1996). Twelve-Tone Tonality (2nd
edition). Berkeley: University of California Press.
Rosenhaus, Steven (1995). “Harmonic motion
in George Perle’s Wind Quintet No. 4”. Vol. Ph.D.
dissertation: New York University.
Schoenberg, Arnold (1911). Harmonielehre. Vienna:
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Carter, based on the third edition, as Theory of
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Zee, Anthony (2007). Fearful Symmetry. Princeton,
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ENDNOTES
[1] PWGL is the successor of PatchWork, a computer
program conceived by Mikael Laurson during the
late 1980s. PWGL is a Lisp-based visual computer-
assisted composition program and is currently
being developed at Sibelius Academy. For a better
knowledge about PWGL please visit: http://www2.
siba.fi/PWGL
[2] These reflections simply represents a particular
situation lived within a small universe in a music
college. It is not the intention of this research to study
and measure the weight of Perle’s theory within the
music practioners worldwide or localy.
[3] The precise notion of symmetry has several
operational definitions and measurable. The
symmetrical objects can be material (people, mole-
cules, bricks) or abstract structures (mathematical
equations, series). Symmetry may be observed in
geometric transformations like rotation, reflection
and scaling; in space relations; in time measuring,
in functional movements, in complex equations,
in language, in abstract knowledge and in music.
One can find applications of the concept in all those
scientific fields, starting with geometry and biology,
and finishing in the arts in general (Andreatta, 2003).
[4] Invariant formations are also the side effect of
derived rows where a segment of a set remains
similar or the same under transformation. These may
be used as “pivots” between set forms, sometimes
used by Anton Webern and Arnold Schoenberg
(Perle, 1991, pp. 91-93).
[5] The complete collection of dyadic cyclic sets
could be accessed in Perle’s Appendix where he
explains the meaning of equivalent sets. ‘Sets that
share the same pair of tonic sums are equivalent
to each other. […] Thus, the interval-1 set p0p1 is
equivalent to i1i0, the set of the same tonic sums
and the complementary interval, 11; the interval-2 set
p0p2 is equivalent to the interval-10 set p2p0; the
interval-3 set p0p3 is equivalent to the interval-9 set
i3i0; etc (Perle, 1996, p. 253).
Karlsruhe’s Center for Art and Media (ZKM). His
works have been produced at this institution as
well as at the Calouste Gulbenkian Foundation in
Lisbon and at international festivals like Musica in
Strasbourg, Música Viva, Estoril Summer Festival, S.
Paulo Biennal and World Music Days as well as at the
Documenta X in Essen and the Expo 98 in Lisbon,
having been interpreted by leading ensembles of the
contemporary artistic scene such as AccrocheNote,
OrchestrUtopica and Ensemble Modern Frankfurt.

[6] Analytical tools are based on Perle and referential

authors. Letters t and e designate respectably integer
10 and 11 (Foley, 1999; Foley, 2006).

BIOGRAPHIC INFORMATION

Telmo Marques is a Portuguese arranger, composer

and pianist from Porto. He teaches piano, music
analysis and composition at ESMAE — Superior
Music School. He attended the Porto Conservatory
of Music where he studied piano and composition
with Hélia Soveral, Fernanda Wandschneider,
Cândido Lima and Fernando Lapa. He did further
studies with Jean Martin, Carlos Cebro, Fernando
Puchol, and Paul Trein. He graduated in piano
from ESMAE (Prize Eugénio de Almeida — best
classification), completed a Master of Arts in
the UK. He is currently a Computer Music PhD
candidate at the School of Arts of the Portuguese
Catholic University (UCP) being supervised by
Paulo Ferreira-Lopes. As a composer he receives
commissions for Orchestras, Soloists, and Chamber
Music. Porto 2001 European Cultural Capital and
Guimarães 2011 European Cultural Capital are
two examples. He has also contributed to a wide
range of music-theatre pieces, documentaries,
and hundreds of commercials. He has taken part
in many recordings of Portuguese artists as pianist,
arranger and/or producer.

Paulo Ferreira-Lopes is a Professor at the School

of the Arts of the Portuguese Catholic University
(UCP), since 2007, guest Professor at the Institute
for Musicology and Musical Informatics (IMWI) at
Karlsruhe’s University of Music in Germany. He is
founder and former Director of the Research Center
for Science and Technology in Art (CITAR) in Porto
(2003-2007), of the Electronic Music Studio C.C.I.M.
in Lisbon (1992-1995), and of the Summer Workshops
olhAres de Outono in Porto (UCP; 2000). Since 1998,
he has been artist in residence and researcher at

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